Teoman - Papatya - Chord

Key Db major – Bb minor Chords F, Bbm, Ab, F#, Bb, Eb, Db, Cm Easy key C (capo 1)

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Capo 0

Bbm                              Ab
Bizi tanıyan herkes bilir senle ben eskiden beri
F#                        F
Hiç derdimiz olmadan büyümüştük yan yana
Bbm                         Ab
Hani çok sevdiğin o filmi gördükten sonra 
F#                             F                        
Kısacık kestirip saçlarını içtin ilk sigaranı
 
        Bb                 Eb
Oh  papatya yüzümün haline bak   
                 Bb
Seninle kim kalacak
                F      Db    Cm    Bb
Işıklar kapanınca benden çok uzakta

Bb                          Eb
O papatya son bir defa bana bak
                 Bb
Seninle kim kalacak
                F      Db    Cm   Bbm
Işıklar kapanınca benden çok uzakta
 
Bbm                              Ab
Zaman mı değişti yoksa ben mi geride kaldı o günler
F#                       F   
Aklım belli karışmış yüzümde gölgeler
Bbm                               Ab     
Senin için saklayıp sana getirip anlattığım herşey
F#                       F
Artık çok boş geliyor yalan tüm kelimeler  

Bbm                           Ab
Şimdi o günlere dönüp seni düşündüğüm anlarda
F#                      F
Hala üstümde kokun sesin kulaklarımda

End of song Play again?

Teoman - Papatya Tabs

NotesX

Harmony analysis

Teoman – Papatya: key and chord analysis

The song opens on Bbm and ends on F. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm, Bbm is heard 6 times against 2 for Db and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Db or to Bbm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	2×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
V/V	Eb	Secondary dominant V/V — leads to Absecondary dominant	Eb · G · Bb	2×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	7×
IV	F#	Subdominant — moves away from home	F# · A# · C#	5×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	5×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	6×
V/ii	Bb	Secondary dominant V/ii — leads to Ebmsecondary dominant	Bb · D · F	5×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	6×
V/iv	Bb	Secondary dominant V/iv — leads to Ebmsecondary dominant	Bb · D · F	5×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
ii	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
III	Db	Relative major — the bright side	Db · F · Ab	2×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
IV	Eb	Major IV — Dorian / melodic-minor colourmodal colour	Eb · G · Bb	2×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	7×
VI	F#	Submediant — warm colour	F# · A# · C#	5×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	5×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 8 different chords appear 34 times in total; 4 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm. Bb, Eb act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×3

The move to watch is F → Bbm, heard 3 times. From the Bbm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Bbm lays a solid floor for everything that follows. F, Bbm, Ab, F# carry the song: V/vi–vi–V–IV relative to Db, V–i–VII–VI relative to Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Bbm (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. It closes on F, letting the Db side have the last word.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.